British Youth Opera Revives Stravinsky’s *The Rake’s Progress* in an Immersive Youth-Led Production

British Youth Opera presented a new staging of Igor Stravinsky’s *The Rake’s Progress* at Battersea Arts Centre, enlisting a cast and creative team entirely in their twenties. The work, originally a 1951 collaboration between Stravinsky and W.H. Auden, was reimagined as an immersive experience that places young performers at the centre of every production decision.

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The company, founded as a “finishing school” for emerging singers and musicians, previously staged the opera in 2009, a production that later featured tenor Nicky Spence at the Proms. The current version builds on that legacy, aiming to give participants hands-on experience in conceiving, directing, designing, and stage-managing a full opera.

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• Tom Deazley – director, responsible for the contemporary, psychology-focused staging.

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• Oliver Cope – conductor, leading the Sinfonia Smith Square from a central V-shaped stage.

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• Sam Rose – tenor as Tom Rakewell, noted for a brittle, vulnerable portrayal.

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• Sam Young – baritone as Nick Shadow, providing a polished counterpoint to Rose’s performance.

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• Sophie Bysouth – soprano as Anne, praised for a sweet, earnest delivery and emotional intensity.

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• Rhian Davies – performer as Baba the Turk, delivering a confident presence.

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• Matthew Bawden – cameo as Sellem, and Gabriel Tufail Smith – the Keeper, both highlighted for effective small-role contributions.

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The production employs a V-shaped stage that surrounds the conductor and orchestra, with three door-frame set pieces crafted from repurposed materials. This layout creates narrow sight-lines and occasionally pushes characters to the back of the theatre, complicating visual clarity. The absence of a traditional pit means the young orchestra’s enthusiasm can overwhelm the singers, leading the reviewer to note occasional balance issues. Nonetheless, Cope’s precise conducting and the orchestra’s intermittent responsiveness were described as “swift, cool” interpretations of Stravinsky’s demanding score.

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The reviewer characterises the staging as “quiet, gently contemporary,” emphasizing psychological depth over overt social commentary. While the mechanics of the set and acoustic balance sometimes hindered the performance, the young cast’s vocal promise and emotional commitment were praised. The production is portrayed as a valuable professional development opportunity, despite the “bumpy” opening night caused by the ambitious, participant-driven approach.

The Guardian